The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.
Scope and Contents:
The papers of museum director, professor, writer, and post-World War II Monuments Men Andrew Carnduff Ritchie measure 10.3 linear feet and date from 1907 to 1983. Found within the papers are biographical material, including materials and photographs concerning his military service in the Monuments, Fine Arts, and Archives Section of the U.S. Army; correspondence, including letters from numerous artists; writings; committee and organization files; exhibition and project files, teaching files; printed material; and photographs, including portrait images of Ritchie taken by Hans Namuth.
Biographical materials include birth certificates, passports, academic records, biographical profiles, and awards. There are files documenting Andrew Carnduff Ritchie's post-World War II military service in 1945-1946 as a "Monuments Men" in the Monuments, Fine Arts, and Archives (MFAA) section of the U.S. Army, including correspondence, forms, reports, photographs (including 7 of paintings looted from Holland), and awards. There is also a file on the Fogg conference on the emergency protection of artwork dated 1939-1942 and one file regarding the Frick Collection's orders for protecting art. There is also a folder of material on his wife Jane Ritchie.
Alphabetical and chronological correspondence is with artists, museums, galleries, universities, and colleagues. The bulk of the alphabetical correspondence consists of letters from artists such as Afro, Alexander Calder, Dimitri Hadzi, Russell Lynes, Eduardo Paolozzi, Theodore Roszak, and others. There are also condolence letters addressed to Jane Ritchie. Chronological correspondence includes Ritchie's correspondence on the subject of travels, lectures, projects, and exhibitions.
Writings include one disbound notebook, papers from college and graduate studies, lecture drafts, outlines, and notes. There are a few writings by others.
Committee and organization files document Ritchie's work on advisory panels, trustee boards, councils, board of directors, and committees. There are meeting minutes, bulletins, reports, studies, and correspondence. Some of the more voluminous files include the College Art Association's study on "The Visual Arts in Higher Education" as well as the Museum of Modern Art's committee on museum collections.
Exhibition and project files include correspondence, printed material, photographs, catalogs, and assorted documents. Among the projects and exhibitions in this series are Ritchie's work on the Alfred E. Burr Memorial in Connecticut and the Middelheim Sculpture exhibition.
Teaching files contain correspondence, program outlines, course materials, recommendations, and a few student papers from universities and programs where Ritchie taught, including Yale University Art Gallery.
Printed material consists of news clippings, some of which are arranged by subject, along with articles by Andrew Ritchie, press releases, magazines, bulletins, and a few exhibition catalogs.
Photographs are of Andrew Ritchie, and of friends and artists at various art openings and events.
There is one small album of photographs of a birthday party for Jane Ritchie. Also included are photographs of artwork.
Arrangement:
This collection is arranged as 8 series.
Series 1: Biographical Material, 1907-1978 (0.5 linear feet; Box 1, OV 11)
Series 2: Correspondence, 1928-1983 (2.2 linear feet; Boxes 1-3)
Series 3: Writings, 1927-1978 (2.9 linear feet; Boxes 3-6, OV 11)
Series 4: Committee and Organization Files, 1948-1971 (1.2 linear feet; Boxes 6-7)
Series 5: Exhibition and Project Files, 1949-1978 (1.6 linear feet; Boxes 7-9, OV 12)
Series 6: Teaching Files, 1957-1974 (0.5 linear feet; Box 9)
Series 7: Printed Material, 1928-1978 (0.5 linear feet; Boxes 9-10)
Series 8: Photographs, 1935-1982 (O.9 linear feet; Box 10, OV 13)
Biographical / Historical:
Andrew Carnduff Ritchie (1907-1978) was a museum director, professor, and art historian based in New York and Connecticut. He served as director of the Albright Knox Gallery in Buffalo, N.Y., director of Painting and Sculpture at the Museum of Modern Art, and director of the Yale University Art Gallery.
Andrew Carnduff Ritchie was born in Bellshill, Scotland, in 1907 to Andrew and Jeanie Gilchrist Ritchie. The family immigrated to the United States when he was 15 and settled in Pittsburgh, Pennsylvania. He attended the University of Pittsburgh and received a bachelor's and master of arts degrees in medieval art, and his doctoral degree from the University of London in 1935. That same year, he married Jane Thompson.
From 1935 to 1942, Ritchie was a researcher and lecturer at the Frick Collection in New York City and faculty member at New York University, as well as a visiting lecturer at Johns Hopkins University in Baltimore, Maryland.
In 1942, Ritchie was appointed director of the Albright Knox Gallery in Buffalo, New York where he stayed until 1949 when he became the director of Painting and Sculpture at the Museum of Modern Art.
In 1945-1946, directly following World War II, Ritchie served with the U.S. Army's Monuments, Fine Arts, and Archives section in Austria and helped with the restitution of art looted by the Nazis, returning paintings and cultural artifacts back to their country of origin. He was later honored by France and the Netherlands for this work.
In 1957, Ritchie accepted the postion of director of the Yale University Art Gallery where he stayed until 1971. While there, he acquired notable works of art for the Gallery's collections by David Smith, Noguchi, and Maillol. Thanks to Ritchie's efforts and guidance, art collector and patron Paul Mellon donated his collection of British art and established the Yale Center for British Studies. In 1971, Ritchie also became the Clark Professor at Williams College, Massachusetts, and, in 1972, he was a visiting professor at the University of Sydney, Australia. Ritchie retired from Yale in 1973.
Ritchie was also awarded honorary doctorates from the University of Pittsburgh and the Royal College of Art in London. He wrote several books over the course of his career and passed away in Canaan, Connecticut, in 1978.
Related Materials:
Among the holding at the Archives of American Art is an interview of Andrew Carnduff Ritchie conducted in 1977 June 16-17 by Paul Cummings.
The Albright-Knox Gallery Archives in Buffalo, New York has a collection of Andrew Carnduff Ritchie papers, which include administrative records and correspondence.
Provenance:
This collection was donated in multiple installments in 1979 and 1981 by Andrew Ritchie's widow, Jane T. Ritchie, and by her estate in 1986. Five letters from Alfred Hamilton Barr to Andrew and Jane Ritchie were donated in 1974 by Andrew Ritchie through Russell Lynes.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Arts administrators -- Connecticut -- Canaan Search this
Writings found here, primarily in the form of transcripts, are on subjects of interest to Shahn many of which were presumably used as source material for his artwork, sparked his interest in a particular commission such as those by John Barlow Martin, or were given to him as possible commissions for illustrations.
See Appendix for a list of writings from Series 5.3.
Arrangement note:
This series is arranged alphabetically by author with details provided in the index. The bulk of this series has been scanned with the exception of the full text of some writings.
Appendix: List of Writings from Series 5.3:
Writings are listed alphabetically by author; writings by unidentifed authors appear at the end of the list. Barr, Alfred: "The United States at the Venice Biennale," 1954
Bernstein, Aline: "Battle Hymn"
Block, Lou: "Ballyhoo vs. Information," circa 1943
Brennan, Francis: "The Picture and the Word," 1956
Brennan, Francis: Account of trip to Russia, 1960
Brennan, Francis: Speech for Conference of Western Association of Art Museums
Dugan, Alan: "Society of the Free and Easy"
Dugan, Alan: "Speech to the N.B.A"
Durr, Clifford J.: "The Trial of Jesus as a Loyalty Hearing"
Dye, Joan: "Juvenile Delinquency," 1956
Endore, Guy: "Address to the School of Library Science, UCLA," 1962
Engel, Monroe: "A Father's Geography," 1956
Ferry, W. H.: "Black Colonies: A Final Solution"
Ferry, W. H.: Address from the Western States Democratic Conference
Ferry, W. H.: "Why the College is Failing," 1963
Ferry, W. H.: "A Proposal from Ralph Helstein, Robert Theobald, and W. H. Ferry," 1963
Ferry, W. H.: "The Triple Revolution: An Appraisal of the Major U. S. Crises and Proposals for Action," 1964
Ferry, W. H.: "The Muddle in Education," 1964
Fielder, Leslie A.: "Nude Croquet"
Fuller, R. Buckminster: Letter to Mr. Higman, Conference on World Affairs, University of Colorado, 1963
Goldburg, Rabbi Robert: Memorial prayer for John F. Kennedy, 1963
Goldin, Judah: Translation of "The Grace After Meals"
Gregory, Horace: "Alphabet for Joanna"
"Vincent Van Gogh's 'Landscapes of the Soul'"
Gusten, Theodore: "Vincent Van Gogh, We and Picasso"
Johnson, Lyndon B.: Excerpts from Address to National Education Association, 1965
Joyce, Robert: "The Working Artist," 1961
Kacmarcik, Frank: "The Bible and Creative Imagination"
Kastner, Frank: "The Bible and Creative Imagination"
Kennedy, John F.: Statements, 1963
Lamont, Corliss: Statement before the Senate Permanent Subcommittee on Investigation, 1953
Langum, John K: "Prospects for the American Economy," 1965
Lemon, Richard: "Campaign Song"
Levinson, Alfred: "Cricket in the Mill"
Lewis, Margery: "The Young American Artist"
Martin, John Bartlow: "The Mecca Building"
Martin, John Bartlow: "The Hickman Story"
Martin, John Bartlow: "A Letter About Upper Michigan"
Martin, John Bartlow: "A Trip to the Lincoln Country"
Piel, Gerard: "Science, Disarmament and Peace," 1958
Pines, David, editor: Statement about book "Frontiers in Physics"
Pollack, Peter: Statement on establishment of the National Arts Foundation and the National Council on the Arts, 1963
Reid, Alistair: "A Spelling for Sleeping"
Reid, Alistair: "A Lesson in Music"
Ritchie, Andrew Carnduff: "Will the Creative Arts Thrive or Degenerate During the Next Fifty Years?"
Rodman, Selden: "Death of the Hero: A Modern Morality"
Rodman, Selden: Reviews
Roosevelt, Franklin Delano: Addresses to Congress, 1942
Rosenblum, William F.: Script of Chanukah pageant and story, 1962
Rosskam, Edwin: "Three Victims," 1960s
Rosten, Lou: "Gandhi," 1964
Roth, Cecil: "Had Gadya," 1965
W.H.S.: "What Price Peace?" 1963
Schlesinger, Jr., Arthur: "Government and the Arts," 1962
Shyre, Paul: "The Child Buyer" Play script adapted from novel by John Hershey
Taylor, Harold: "The First Sex: or Oedipus Unbound," 1953
Terracini, Umberto: Preface for "The Jews of the USSR," 1966
Tyler, Parker: Review of Exhibition by Henri Cartier-Bresson, Walker Evans and M. Alvarez Bravo, 1935
Wilder, Thornton: Playscript, "The Seven Deadly Sins - Number Six: Lust/Someone from Assisi"
Wilder, Thornton: Playscript, "The Seven Ages of Man - Number One: Infancy"
Wilder, Thornton: Playscript, "Childhood"
Yeats, W. B: Playscript: "Calvary" with production notes from Theatre Intime production
"Project by the Brooklyn Museum for a Major Exhibition of Photographs Dealing with Puerto Rico and Puerto Ricans"
"The Use of Earle Browder's Image in a Mural"
Mr. Passow's Proposals Concerning Childhood Talent," 1966
"Problems Connected with Education in the Fine and the Applied Arts"
Possible chapters for a book: "Entertaining Notions" and "In the Name of Art"
"How to...Anything"
"New Forms vs. Reforms"
"The Transformation of the Novel"
"A Proposal to Establish a New and Permanent Opera Group in Boston"
"For Michael's Sake"
"Mino Maccari"
"The Sacco and Vanzetti Case"
"You the Steel Worker"
"Steel Strike in Warren, Ohio"
"Towards a Rural Housing Program"
"First Draft of Resettlement Administration Primer"
"Proposal for a Rural Community Center Program"
"Designing Museum Buildings"
"Food for Thought - A Creative Menu"
"The Dustbowl"
"President's Committee on Farm Tenancy," 1937
"God"
"A Portrait of the Plasma as a Many-Body Problem"
"Story About Kay-Kay"
"The Short Grace After Meals"
Text for a Woman's Pamphlet
"Metropolitan Museum"
Collection Restrictions:
Access to original papers requires an appointment. Access to audiovisual recording with no duplicate access copy requires advance notice.
Collection Rights:
The Ben Shahn papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Walter Pach's painting was included in exhibition.
Collection Restrictions:
Use of original papers requires an appointment.
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Walter Pach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the initial digitization of the microfilm of this collection was provided by the Gladys K. Delmas Foundation. Funding for the processing of the addition to the Walter Pach papers and digitization of the fully re-processed collection was provided by the Terra Foundation for American Art.
Ritchie, Andrew Carnduff. "The Evolution of Ingres' Portrait of the Comtesse d'Haussonville." Art Bulletin (College Art Association of America) 22, no. 3, Reprint
Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Walter Pach papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Walter Pach papers, 1857-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the initial digitization of the microfilm of this collection was provided by the Gladys K. Delmas Foundation. Funding for the processing of the addition to the Walter Pach papers and digitization of the fully re-processed collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research facility.
Collection Rights:
The Andrew Carnduff Ritchie papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Andrew Carnduff Ritchie papers, 1907-1983. Archives of American Art, Smithsonian Institution.
